James Bama, Mort Künstler, and Jack Faragasso created magic on film before turning photos into illustrated art. But for the majority of illustrators, especially on the East Coast, there was only one ‘go-to’ guy who captured what was in their head on film. That was Robert Osonitsch.
Self-taught, born in Bushwick, New York, Osonitsch went to a trade school and was a member of the Society of Illustrators. He had a studio in a five-story building that he owned in Manhattan (at 112 4th Ave.) for more than 50 years. Within the building were two high ceiling studios on the fifth floor. Osonitsch shot in the back studio and rented out the front for illustrators who did their own photography, like James Bama and others. Filled with props, and constantly bustling with activity, Osonitsch shot Holland as a cowboy, a criminal, and many popular characters like Doc Savage and Fargo. A fire in 1981 destroyed all of his photos and negatives. He rebuilt the studio and reopened it again in 1982. He owned the building until he died.
Amy Sgouros, one of his seven children, remembers his studio constantly being busy with sessions back to back all day. Douglas, his youngest son, recalled that whenever he needed a child for a session, he’d just grab one of his kids. Osonitsch also shot the majority of cover photos of Fabio, along with countless other models and celebrities.
Bu hikaye Illustration dergisinin Illustration No. 73 sayısından alınmıştır.
Start your 7-day Magzter GOLD free trial to access thousands of curated premium stories, and 9,000+ magazines and newspapers.
Already a subscriber ? Giriş Yap
Bu hikaye Illustration dergisinin Illustration No. 73 sayısından alınmıştır.
Start your 7-day Magzter GOLD free trial to access thousands of curated premium stories, and 9,000+ magazines and newspapers.
Already a subscriber? Giriş Yap
THE ART OF PAUL BRANSOM
Paul Bransom (1885-1979) was widely known as the Dean of American Animal Artists. His work appeared on the covers of magazines like The Saturday Evening Post and served as illustrations of short stories in periodicals and in books. He provided the illustrations for some 45 books, most notably the 1912 edition of Jack London’s Call of the Wild and the 1913 edition of Kenneth Grahame’s The Wind in the Willows.
THE ART OF FRANK MCCARTHY
Witnessing a Wild West show as a young boy was a crucial early influence that led Frank McCarthy to become a distinguished painter of Western historical themes. The excitement and emotion he felt that day stayed with him, and can be seen in the vivid action, color, and splendor that emanate from his paintings.
THE ART OF WARD BRACKETT
Ward Brackett (April 2, 1914–December 14, 2006) was a gifted American illustrator, known for his work in paperback books and periodicals such as Reader’s Digest and Cosmopolitan.
THE ART OF N.C. WYETH
For over 25 years, N.C. Wyeth was regarded as the foremost illustrator of books and magazines in the United States. His artwork for iconic tales of romance and adventure has become synonymous with the stories themselves, familiar to multiple generations of readers. Some of the best-known characters in literature have become nearly indistinguishable from the images he produced.
THE ART OF CHARLES LASALLE
\"We have some artists in the family.\" I didn't know it at the time, but my future father-in-law Aiden E. LaSalle was a master of understatement.
THE ART OF PRUETT CARTER
Pruett Carter was once recognized as one of America's top illustrators, during a time when illustrations were viewed primarily as easel paintings
THE ART OF RAYMOND JOHNSON
Raymond Sven (Ray) Johnson was a commercial illustrator who created iconic paperback book covers spanning all genres of fiction for Avon, Popular Library, Monarch and other publishers from the late 1940s through the early 1960s.
"Blow some my way"
THE DELINEATION OF DESIRE IN 1920s COMMERCIAL ILLUSTRATION
THE ART OF FRITZ WILLIS
Fritz Willis was born in Oklahoma in 1907, and raised in Boston.
THE ART OF WILLIAM OBERHARDT
Illustrator William Oberhardt (1882-1958) was born in Guttenberg, New Jersey, 1882.
